Çagla Güleray on Liberation, Reinvention, and Ductape
As one half of Istanbul’s rising post-punk duo Ductape, Çagla Güleray has emerged as one of the most compelling new voices in Turkey’s dark alternative scene.
Formed with guitarist and producer Furkan Güleray, Ductape quickly became a standout within Turkey’s expanding goth, darkwave, and post-punk movement, a landscape shaped in part by influential acts like She Past Away and an increasingly international touring circuit. Güleray’s journey, however, is defined as much by instinct as it is by evolution. Once someone who admits she “wouldn’t even sing in the shower,” she pushed herself into unfamiliar territory, discovering both a personal liberation and a new creative identity onstage.
Beyond her striking vocals, Güleray also directs the visual world of Ductape, crafting an aesthetic rooted not in stylized artifice but in raw emotion, minimalism, and symbolic power. Her own transformation — including shaving her head after leaving a 13-year corporate job — reflects the same instinctive drive that fuels her artistry.
Musically, she and Furkan steer the project toward a punk-leaning interpretation of post-punk, intentionally resisting predictable structures in favor of something freer and more volatile. Their 2023 album, Echo Drama, serves as a conceptual bridge between past and future, with their forthcoming record, Faded Flowers, expanding on that foundation. Ductape’s work also carries a social consciousness, as seen in tracks like “Wooden Girl,” which addresses domestic violence and femicide through both lyricism and carefully constructed visual symbolism.
With a voice shaped by instinct, resilience, and a naturally unapologetic nature, Çagla Güleray has become a powerful creative force within a genre — and a musical moment — that is rapidly evolving around her.
KP: You had a very unique path into music — from what I understand, you didn’t have any formal experience before forming Ductape with Furkan, who convinced you to pursue it. Your first time even holding a microphone was with the band! I think that’s incredible. Personally, I’m a trained musician, and I can barely play in front of people! [Laughs] I really hate it. I’m definitely not a performer.
So, naturally, I’m curious: what was that experience like for you? Did you find it inspiring, intimidating, or a mix of both? And what do you remember about your very first live show?
ÇG: I can say that I wouldn’t even sing in the shower before. I’m so glad that Furkan insisted and that we started. Now, I wouldn’t trade it for anything. I don’t usually like swimming in unknown waters, but I now understand that it’s important to not be afraid of trying new things.
I remember the first time I got on stage. It was an open-air concert on one of the islands in Istanbul, and we played very early. It wasn’t very crowded, but when it’s your first time on stage, there’s not much difference between one person and one hundred. Still, hearing that some people came just to see us encouraged me a bit. My first thought was, “Once you get used to it, you’re really going to enjoy this.” And that’s exactly what happened.
KP: That’s amazing. I think that was the perfect first experience to have.
And speaking of Turkey, you both hail from there, where you’ve mentioned the darkwave scene is still relatively small but slowly growing. How would you describe the music scene in Istanbul, and in what ways has that environment shaped Ductape’s sound and approach at large?
ÇG: We shouldn’t think only in terms of Istanbul, of course, but Ankara and Istanbul are undeniably the cities that lead Türkiye’s cultural direction.
Speaking specifically about the goth scene, we’re experiencing a period of expansion — She Past Away has been the biggest driving force in this process.
KP: Right!
ÇG: In recent years, seeing many international post-punk bands include Istanbul and Ankara in their tour rosters naturally excites us as well. In parallel, this also encourages new Turkish bands to move towards this music. For now, we’re hopeful about the current developments.
Musically, Türkiye is actually a very broad landscape. There are distinctive and successful bands ranging from grindcore to punk. It’s a country full of musicians who value underground music and carry that torch forward. Even though mainstream trends unfortunately make it difficult for many bands to continue, in major cities you still have a high chance of catching a live metal show on any given day.
It’s hard to say that the Istanbul scene has had much of an influence on Ductape. Especially for me, I wasn’t really involved in that scene. For Furkan, with his long musical background, it may have had some influence on him, of course.
KP: And speaking of darkwave as a genre, you’ve mentioned that you see Ductape as more post-punk, or at least that your sound draws heavily from post-punk influences. Can you tell me more about how post-punk has shaped your music? How do you distinguish your approach from traditional darkwave?
ÇG: Darkwave and post-punk are, of course, two subgenres that walk hand in hand. Talking about the differences between them sometimes feels like playing a “spot the seven differences” game between two photos. But, for us, post-punk has a more liberating structure.
Predictable transitions, expected notes, and foreseeable rhythms can be boring for us, especially after seeing the newer wave of bands. When we think about our own stage presence, we can say that we have a more punk-leaning stance.
In the songwriting process — and especially in the guitar work — Furkan’s contribution is significant. His musical framework might also be what pushes us in that direction.
KP: You also direct the visual aspects of the band, and I really love Ductape’s aesthetic. What inspires you visually, and what ideas or emotions are you hoping to convey through the band’s imagery?
“In Turkey, every step that we take and every breath that we breathe is already political; you can’t escape it.”
ÇG: Sometimes we also step into the visual world together with Furkan, but I’m usually the one who brings the ideas to life. I draw inspiration from so many different things that it’s hard to point to just one. I think I tend to focus less on superficial artistic elements and more on the deeper, suppressed, and raw emotions. Conveying powerful emotions through very simple things — and making people truly feel them — is what I value the most.
KP: On the topic of visual identity, to speak about something totally vapid, we actually have very similar hair! [Laughs] I buzzed half of my head back in college over a decade ago and always missed it, so a few months ago I went back and did it again — this time leaving a little mohawk strip in the back. I love it even more now, though the upkeep is very intense! I definitely didn’t miss that part. [Laughs]
When did you first shave your head, and what was the thinking behind it? And, more broadly, what drives your overall look and style? I really love it.
ÇG: I’m glad to hear that we have similar tastes when it comes to hair and that you like my style! Unfortunately, my hair isn’t thick enough for a proper mohawk. :(
In mid-2024, we decided to quit our day jobs and become full-time musicians. In the company that I worked in, there were strict rules about clothing, hair, and makeup. I worked there for 13 years, and not being able to create the look that I wanted always made me a bit sad, because before starting that job, I had the freedom to express myself however I liked. I used to have long black hair and could dye my bangs any color that I wanted, but for 13 years, I couldn’t touch it. So shaving it off after quitting actually felt like taking a deep breath!
I think that I make changes to myself based on very basic, instinctive feelings. I just get this thought in my head like, “I want this,” and then I go for it.
KP: It really works! I love it.
A lot of your music engages with social themes — for example, “Wooden Girl” touches on the topic of domestic violence. Do you view Ductape as a political vehicle in any way, or do you approach these topics more from a personal or artistic perspective?
ÇG: In Turkey, every step that we take and every breath that we breathe is already political; you can’t escape it. Even though politics isn’t our main focus, as artists, reflecting emotions and society is part of what we do. In our song “Wooden Girl,” domestic violence and femicides were subjects that we wanted to address. In the music video, we wanted to use symbols referencing the femicides that were happening at that time. Bringing this song to life visually with a team that was composed mostly of women was very meaningful for us.
KP: That’s an issue that’s very close to my heart. I love that you did that.
Your latest single, “Fine,” dropped last month. What can you tell us about its writing and production? What specifically inspired that track?
ÇG: “Fine” came from a place where we started to feel mentally low but were holding on to the depths. There came a point where we said, “This is our place now mentally, and we’re happy here.” We like contrasts; it feels good to make people dance while talking about something melancholic, because, in a way, that’s how life should be seen.
It was a half-done song that we made a while ago, probably around last January. When we listened to it once again, it felt so good that we finished it in a heartbeat.
“I don’t usually like swimming in unknown waters, but I now understand that it’s important to not be afraid of trying new things.”
KP: Ductape has explored a wide range of themes, both sonically and lyrically, over time. Do you see your most recent record, Echo Drama, as a continuation of your past work or more of a departure from it?
ÇG: That’s essentially the meaning of Echo Drama — a reflection of the past, yet also something new. We see this album as a kind of bridge.
KP: Looking ahead, where do you see the band’s sound and direction moving forward?
ÇG: When we listen to the new songs that we’ve been making for the upcoming album, Faded Flowers, it feels like a structure being built on top of Echo Drama. But it’s not just a matter of repainting the walls — it’s more like constructing an entirely new building on the same foundations.
KP: You recently supported IAMX on his European tour, which is so cool. Chris is great, and I recently spoke with Kelli [Ali] from Sneaker Pimps! She’s absolutely brilliant.
What was that experience like, and what does the practice of live performance mean to Ductape as a band?
ÇG: IAMX has always been an artist that we deeply respect; when the first tour offer came, we were incredibly excited. The idea of spending a full month together every day made us a bit nervous, of course, since we didn’t know anyone yet, but reaching cities that we had never been to and playing on stages that we had never performed on was important for us. The first day was stressful, but by the evening, after seeing everyone’s warmth and professionalism, we didn’t even realize how all that time flew by.
Thanks to IAMX, we reached a wonderful audience. Being able to observe an artist as professional as Chris for such a long time gave us a valuable perspective. We watched their show almost every night as much as we could. It contributed a lot to us.
KP: I could imagine! That’s such a gift.
What advice would you give to women who are looking to make music, whether professionally or just as a personal pursuit?
ÇG: As with everything in life, stay on your path! Being a woman is a challenge in itself, but use your music as your compass — and know that it is never too late to start. Always believe that you can do it, because you really can achieve anything that you want.
KP: What advice would you offer to women in life, work, or love?
ÇG: For all three, never be afraid to leave a place you feel like you don’t belong in anymore and start again.
KP: What do you feel makes a provocative woman?
ÇG: I think a provocative woman is someone who never apologizes for who she is and isn’t afraid to show her emotions. She exists exactly as she wants to.
